captbaka

I’m 40. Just completed the one ER paid for by my insurance. Don’t know if we’ll do it again. 18 eggs, 14 mature, 10 fertilized, all 10 came back as blasts. We were SO excited — the numbers were looking so good. Then PGTA testing revealed only ONE of those blasts came back as euploid. It’s a 5AA, so it has a good shot, but the emotional rollercoaster has me down.

I was expecting three or so with those numbers. Trying to be thankful for the one, but I’m honestly just so in shock that I only got 1/10.

I’m 40, just underwent my first ER. 18 eggs retrieved, 14 mature, 10 fertilized.

I know they’re good numbers, but the attrition rate is still a bit of a gut punch to see that number almost cut in half. Was bracing myself for 20-30% blasts, especially at my age.

My shocked doctor just called to say all 10 were blasts (2 day 5, 7 day 6, 1 day 7)!!

I don’t know which is which yet but she said there are good aa’s and ab’s in there.

I know there’s still PGT-A testing to go, and who knows what that will bring, but I’m truly kind of in shock with these results. You really never know.

Crossing my fingers that we get good results from the lab now. The wait continues!

But keep hope, my 40+ sist

LOTUS ROOT.

I'm on day 9 of stims (Age 40. LA based.)-- hopefully triggering tomorrow night? Things have been going well except for I feel soooo full and bloated.

But more importantly -- I swear to god, every time they stick that ultrasound wand in me to look at follicles, all I can think of is lotus roots with their many holes.

I love the reminder of lotus because the plant grows through murky, muddy waters and blossoms into something so beautiful above water. It represents purity and resilience. Feels like a great reminder that the journey might be difficult, but hopefully there will be something beautiful on the other side.

Grow those lotus roots, ladies.

I’ve (40) been preparing for my first egg retrieval. I went in in December and follicle count was 17 (!), but it was waaaay before my period, they had me come in just because they would be closed for the holidays. Obviously it was way too early, so it was pushed to January. And they invoiced me $550 for that appt. (Which I’m kind of mad about — why would they have me come in for an expensive appt, when they knew it wouldn’t be a good time?)

I’m out of town for work for a lot of Jan-April, but I move my schedule around to fly back in January. It was a ton of work to make it happen. Called in a lot of favors. This time the timing was good but my follicle count was only 9, so they put it off a

So I’ve only worked in TV.

I have a couple features in development right now — one I’m developing with a very legit director based on his idea, and one with a cool production company, which is an original.

In the TV rooms I’ve been in, outlines are pretty much everything but the dialogue. It’s slug lines, action, a piece of dialogue or two when we’re trying to make a point. But they’re EXTENSIVE. Like up to 25 pgs for what will be an hour long episode. It makes the script-writing part easier, so I like it.

But looking at what people are calling “outlines” on features, it feels more what I would call a beat sheet?

I guess my question is: for next time… did I do waaaaaay more work than I

Hi there -- I'm teaching a new class (for me) at a university, and I'm looking for play recs for "impossible" or "unproduceable" plays. But they have to have been produced by a professional theatre in the last 10 years. I really want students to be reading bold plays by contemporary writers that are getting produced now.

They don't have to be as insane as Artaud, more like -- we are being pushed into a place of simple sets and small casts and accessible material to subscribers -- playwrights are thinking about produceability more than ever, and I want to break writers out of thinking like that.

I'm talking plays that are "too long" or casts that are "too big" (like 'The Ferryman'), shows

I’m seeing a lot of people comment that theaters are very unlikely to do your show if it has a lot of locations, and I want to counter that a bit. I make my living off of playwriting and TV writing.l in the U.S. I have 5, possibly 6 professional productions happening in the next year, 2 (or 3) of which are at big LORT theaters. I say that only to share that in my experience, having a million locations can actually be really refreshing for a theater.

Personal stats: of my plays that have been produced professionally (or will be soon), 3 are single set/location, 4 have around four or so real locations with a single “home base”, 4 have constantly shifting locations (possibly with a “home base”

Just what the title asks: I was just wondering if you wrote as a staff writer or story editor on a TV show and that show gets nominated for Outstanding Drama or Comedy, do you get invited to the Emmy's? Or do you have to be producer-level? What about the Writers Guild Awards?

Experienced Tv writers only please! I’ve been staffed only once before, prior to the strike. Since the strike, it’s been obviously really slow, and this will be my first staffing interview in nearly 2 years and I’m super nervous. Advice on what to expect, what not to do, etc etc? I’ll plan on talking about what I love about the pilot/source material and which characters I feel particularly drawn to. Let me know if you have any other pointers!

I've been kind of kicking myself that I've been taking so long on the outline stage of this screenplay, and today I finally completed an outline that I feel great about in terms of emotional arc, plot logic, structure, all of it. And man, it makes me so excited to write the script, knowing where it's going and what each scene needs to achieve.

For all of you that get stuck in the middle of writing a screenplay, I really have to say, making sure you have a solid skeleton first would probably solve most of your problems.